DOI Heft:
No. 97 (April, 1901)
DOI Artikel:Baldry, Alfred Lys: The work of J. M. Swan, A.R.A., [2]
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19787#0182
/. M. Swan, A.R.A.
judicious in his observation of those minute grada- His motive, as far as it can be analysed in the
tions of tone by which delicate modellings and management of colours appears to De the carrying-
modulations of form must be expressed. He has, out of the tones of his central object in all the
too, a fine sense of texture that serves him well accessories that are introduced to fill the space
both in painting and in sculpture. His colour with which he has to deal. The setting is never
is full of individuality, and has a character of its an independent thing violently contrasting with
own. It is rich, harmonious, and impressive, what it surrounds. On the contrary, it is a
generally low in tone and dependent for its effect necessary part of the decoration, an enveloping
upon well-considered relation rather than force of and absorbing addition to the main design. It
contrast. But it has in a marked degree the gives atmosphere and mystery, and by the harmony
balance of area and the adjustment of exact pitch of its association with the facts of the picture
that are to be found only in the performances of makes the whole result credible and convincing,
men who have an intuitive knowledge of the way From the popular point of view, it may be that the
in which a colour scheme should be designed. It reticence of Mr. Swan's colour and his habitual
may be that he has acquired some of his control avoidance of garish effects do not entitle him to
over these refinements of distribution and spacing rank among the great masters of pictorial art; but
from his sympathetic study of Japanese art; but it the more intelligent thinkers, who are not so ready
arises, as it would seem, chiefly from the same con- to mistake exaggeration for power and assertiveness
structive instinct that guides him in his building for mastery, find in him the highest qualities of the
up of the parts of his pictures and sculptured born colourist, and that exquisite sensitiveness to
works. To put anything out of its correct position subtleties of combination that only the perfection of
is almost impossible to him. Whether he is dealing rightly directed training can produce,
with colour spots or with the contours of living What is the secret of his astonishing skill in the
things the fitting of each detail into his mental rendering of texture and the expression of surface
plan is a matter of deliberate intention, and he by devices of handling can only be guessed. His
would never shirk any of the difficulties involved imitative power is one of the most surprising of his
in perfecting an arrangement that is in his view capacities, for it seems to be altogether independ-
vital to the success of the work he has in hand. ent of any tricks of execution and to be unaffected
" PUMA AND MACAW" BY J. M. SWAN, A.R.A.
(By permission oj George McCulloch, Esc] )
156
judicious in his observation of those minute grada- His motive, as far as it can be analysed in the
tions of tone by which delicate modellings and management of colours appears to De the carrying-
modulations of form must be expressed. He has, out of the tones of his central object in all the
too, a fine sense of texture that serves him well accessories that are introduced to fill the space
both in painting and in sculpture. His colour with which he has to deal. The setting is never
is full of individuality, and has a character of its an independent thing violently contrasting with
own. It is rich, harmonious, and impressive, what it surrounds. On the contrary, it is a
generally low in tone and dependent for its effect necessary part of the decoration, an enveloping
upon well-considered relation rather than force of and absorbing addition to the main design. It
contrast. But it has in a marked degree the gives atmosphere and mystery, and by the harmony
balance of area and the adjustment of exact pitch of its association with the facts of the picture
that are to be found only in the performances of makes the whole result credible and convincing,
men who have an intuitive knowledge of the way From the popular point of view, it may be that the
in which a colour scheme should be designed. It reticence of Mr. Swan's colour and his habitual
may be that he has acquired some of his control avoidance of garish effects do not entitle him to
over these refinements of distribution and spacing rank among the great masters of pictorial art; but
from his sympathetic study of Japanese art; but it the more intelligent thinkers, who are not so ready
arises, as it would seem, chiefly from the same con- to mistake exaggeration for power and assertiveness
structive instinct that guides him in his building for mastery, find in him the highest qualities of the
up of the parts of his pictures and sculptured born colourist, and that exquisite sensitiveness to
works. To put anything out of its correct position subtleties of combination that only the perfection of
is almost impossible to him. Whether he is dealing rightly directed training can produce,
with colour spots or with the contours of living What is the secret of his astonishing skill in the
things the fitting of each detail into his mental rendering of texture and the expression of surface
plan is a matter of deliberate intention, and he by devices of handling can only be guessed. His
would never shirk any of the difficulties involved imitative power is one of the most surprising of his
in perfecting an arrangement that is in his view capacities, for it seems to be altogether independ-
vital to the success of the work he has in hand. ent of any tricks of execution and to be unaffected
" PUMA AND MACAW" BY J. M. SWAN, A.R.A.
(By permission oj George McCulloch, Esc] )
156